Informative Presentations Are Held Wednesday Evenings in Murch Auditorium
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Eric Rohmer's Film Theory (1948-1953)
MARCO GROSOLI FILM THEORY FILM THEORY ERIC ROHMER’S FILM THEORY (1948-1953) IN MEDIA HISTORY IN MEDIA HISTORY FROM ‘ÉCOLE SCHERER’ TO ‘POLITIQUE DES AUTEURS’ MARCO GROSOLI ERIC ROHMER’S FILM THEORY ROHMER’S ERIC In the 1950s, a group of critics writing MARCO GROSOLI is currently Assistant for Cahiers du Cinéma launched one of Professor in Film Studies at Habib Univer- the most successful and influential sity (Karachi, Pakistan). He has authored trends in the history of film criticism: (along with several book chapters and auteur theory. Though these days it is journal articles) the first Italian-language usually viewed as limited and a bit old- monograph on Béla Tarr (Armonie contro fashioned, a closer inspection of the il giorno, Bébert 2014). hundreds of little-read articles by these critics reveals that the movement rest- ed upon a much more layered and in- triguing aesthetics of cinema. This book is a first step toward a serious reassess- ment of the mostly unspoken theoreti- cal and aesthetic premises underlying auteur theory, built around a recon- (1948-1953) struction of Eric Rohmer’s early but de- cisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. ISBN 978-94-629-8580-3 AUP.nl 9 789462 985803 AUP_FtMh_GROSOLI_(rohmer'sfilmtheory)_rug16.2mm_v02.indd 1 07-03-18 13:38 Eric Rohmer’s Film Theory (1948-1953) Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join Our Four-Person Panel As They Discuss the Not-For-Profit Filmmaking Going on in the Area
MEDIA-MAKERS FORUM October 8 • 12-4 PM • FREE Join our four-person panel as they discuss the not-for-profit filmmaking going on in the area. It’s your chance to help make movies! See you at The Neville Public Museum! Wednesday, September 21 • THE RETURN (Russia, 2003) Directed by Andrei Zvyagintsev Winner of the Golden Lion at the 2003 Venice Film Festival, “The Return” is a magnificent re-working of the prodigal son parable, this time with the father returning to his two sons after a 12 year absence. Though at first ecstatic to be reunited with the father they’ve only known from a photograph, the boys strain under the weight of their dad’s awkward and sometimes brutal efforts to make up for the missing years. In Russian with English subtitles. Presenter to be announced Wednesday, October 12 • BRIGHT FUTURE (Japan, 2003) Directed by Kiyoshi Kurosawa Called by the New York Times a Japanese David Lynch, Kurosawa’s film is about two young friends who work at a hand-towel factory and raise deadly jellyfish. A casual visit by their boss unleashes a serious of events which change the two friends lives forever. One of the pleasures of this slow, suspenseful film is how casually Kurosawa tosses in ideas about contemporary life, the state of the family, the place of technology, all while steadily shredding your nerves. In Japanese with English subtitles. Presented by Ben Birkinbine, Green Bay Film Society Wednesday, October 19 • OSCAR-NOMINATED AND OSCAR-WINNING SHORT FILMS Once again we present a series of the best of live-action and animated short films from around the world. -
2019 Annual Report 2019 in Pullquotes
2019 Annual Report 2019 in pullquotes “Indefatigable.” — Ray Pride, Newcity “A small but mighty organization of cinephiles that exists to maintain, restore, and preserve cinematic treasures on film.” — Lisa Trifone, Third Coast Review “Wonderfully eclectic taste and a real talent for unearthing obscurities.” — Nina Metz, Chicago Tribune Screenings The Chicago Film Society presented 64 individual film programs in 2019, with 60 feature films and 81 short films screened. Total attendance was 6,960 across 5 venues. 3 programs featured visiting filmmakers: Sean Baker, director of The Florida Project (2017) Nicolas Rey, member of the Paris artist-run film lab L'Abominable Tim Hunter, screenwriter of Over the Edge (1979) 14 programs featured the Chicago premieres of new prints or restorations: Computer Chess (2013) — new print comissioned by CFS False Faces (1932) Rock 'n' Roll High School (1979) Fragment of an Empire (1929) The Editor's Notebook (1950) — new restoration by CFS Finishing School (1934) Trust (1990) — new print comissioned by CFS Transatlantic (1931) Bridges-go-round (1958) The Florida Project (2017) Old Boyfriends (1979) Queen of Diamonds (1991) The Signal Tower (1924) New Orleans Street Parade (1968) We had some of our best-attended shows ever in 2019, including The Florida Project with Sean Baker in person, and a rare screening of the 1931 Chicago city symphony World City in its Teens: A Report on Chicago. Film writing Having a distinctive program booklet — and distinctive, informative style of writing film descriptions — is crucial to the Film Society's identity. By establishing that there are people thoughtfully working behind the scenes to program the movies, we prepare our audience to think of films in new contexts. -
Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
M2600 Masculin-Feminin (France/Sweden, 1966)
M2600 MASCULIN-FEMININ (FRANCE/SWEDEN, 1966) Credits: director/writer, Jean-Luc Godard ; stories, Guy de Maupassant.. Cast: Jean-Pierre Leaud, Chantal Goya, Marlene Jubert, Michel Debord. Summary: Comedy/melodrama set in contemporary Paris. Godard’s inquiry into 1960s youth culture mixing politics, romance and comedy. A journalist has an affair with a would-be rock star. Includes a scene of self-immolation to protest the war in Vietnam. Albera, Francois. “Masculin-feminin” Travelling J (Laussane) 16 (Apr 1967), p. 51-8. Arnaud, Andre. “Copians flashes” Salut les copians (Jul 1966) [Reprinted in Cahiers du cinema 195 (Jul 1966)] Baroncelli, Jean de. [Masculin-feminin] Le monde (Apr 23, 1966) Biggs, Melissa E. French films, 1945-1993 : a critical filmography of the 400 most important releases Jefferson, N.C. : McFarland, 1996. (p. 176) Billard, Pierre. “About Masculine-feminine” in Masculine-feminine: a film by Jean- Luc Godard New York : Grove, 1969. (p. 187-288) Bjorkman, Stig. “Masculin-feminin” in The films of Jean-Luc Godard New York : Praeger, 1970. (p. 119-22) Blum, Peter (see under Ehrenstein, David) Bory, Jean-Louis. “Ils tuent pour vous” Le nouvel observateur (Dec 14, 1966), p. 50- 51. Burton, Scott. “The film we secretly wanted to live: A study of Masculin-feminin” in Jean-Luc Godard: a critical anthology (edited by Toby Mussman) New York : Dutton, 1967. (p. 261-73) Butler, Jeremy G. “Masculin-feminin” Magill’s survey of cinema. Foreign language films Englewood Cliffs, N.J. : Salem Press, 1986. (v. 4, p. 1976-81) “C rating: National Catholic Office for Motion Pictures” Catholic film newsletter 37/2 (Oct 20, 1966) Casty, Alan. -
Configuring the Demos
CONFIGURING THE DEMOS: CINEMA, THE GLOBAL DIGITAL CONFIGURING THE DEMOS ECONOMY, AND THE CRISIS OF DEMOCRACY is made possible through the generous support of the Deutsche Forschungs- An international conference organized by the Cluster of Excellence “The Formation gemeinschaft, the Vereinigung der Configuring of Normative Orders” and Department of Theatre, Cinema and Media Studies at Freunde und Förderer der Goethe-Uni- Goethe University Frankfurt. versität and the Stiftung zur Förderung der internationalen Beziehungen der According to political theorist Claude Lefort, power in a monarchy is invested in Goethe-Universität. the Demos the body of the king, while in a democracy, power is an empty space: The empty space of the office, filled by a succession of office holders taking turns according to the rhythms of electoral politics, but also the public space in which the demos, the people as the source of power, manifests itself and takes shape. Cinema, the “democractic emblem” (Alain Badiou), is one such space in which the demos configures itself, on screen and in the audience. It is a form of public poetry (Martha Nussbaum), dramatizing the conflicts and articulating the promises, but also the pathologies of modern democratic polities. But how does democracy relate to cinema in a moment of the supposed crisis of democracy? Cinema, the Global Digital Economy, With a focus on three case studies of relatively new players in the global cultural economy, all of which combine the emergence of a popular cinema with the consol- idation of liberal democracy – India, Nigeria and South Korea –, this conference and the Crisis of Democracy explores how cinema, and particularly popular cinema, configures the demos in modern democracies by articulating and dramatizing the conflicts and crises of democratic polities, while developing a significant appeal beyond the geographical International Conference and political boundaries of these polities thanks to digital distribution networks. -
Pacific Film Archive
Lee Amazonas • GUERRILLA CINEMATHEQUE COMES OF AGE: THE PACIFICE FILM ARCHIVE GUERRILLA CINEMATHEQUE COMES OF AGE THE PACIFIC FILM ARCHIVE Lee Amazonas This whole thing is put together with spit, chewing gum, good intentions, coop- eration from the film community and overhead paid by the Museum. I’m not over-budget or under-budget because I haven’t got a budget. —Pacific Film Archive founder Sheldon Renan in a February 1971 interview FOR AN INSTITUTION WITH SUCH A JERRY-BUILT INCEPTION, the Pacific Film Archive (PFA) has not done too badly for itself as it progresses through its fourth decade of exist- ence. The numbers tell a small part of the story: a permanent collection of over 10,000 films and videos (stored in temperature- and humidity-controlled vaults); a study center whose holdings include more than 7,600 books on film history, theory, criticism, and reference, 150 international film periodical titles, over 95,000 clipping files, 36,000 film stills, and 7,500 posters; and an exhibition program of approximately 500 film presentations each year serving an audience of over 50,000 viewers from the Berkeley campus and around the Bay Area. Beyond statistics, it is the magnificent array of programs the Pacific Film Archive of- fers that provides a broader understanding of this vital institution. Many audience members and professionals throughout the film archive com- munity would agree that the exhibition program at PFA is among the most richly varied and com- prehensive shown anywhere, presenting avant- garde and experimental film, classic Hollywood, international cinema (from Iran to Finland to China to Brazil), video art, silent film, ethno- graphic film, and more. -
Classic French Film Festival 2013
FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series Webster University’s Winifred Moore Auditorium, 470 E. Lockwood Avenue June 13-16, 20-23, and 27-30, 2013 www.cinemastlouis.org Less a glass, more a display cabinet. Always Enjoy Responsibly. ©2013 Anheuser-Busch InBev S.A., Stella Artois® Beer, Imported by Import Brands Alliance, St. Louis, MO Brand: Stella Artois Chalice 2.0 Closing Date: 5/15/13 Trim: 7.75" x 10.25" Item #:PSA201310421 QC: CS Bleed: none Job/Order #: 251048 Publication: 2013 Cinema St. Louis Live: 7.25" x 9.75" FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series The Earrings of Madame de... When: June 13-16, 20-23, and 27-30 Where: Winifred Moore Auditorium, Webster University’s Webster Hall, 470 E. Lockwood Ave. How much: $12 general admission; $10 for students, Cinema St. Louis members, and Alliance Française members; free for Webster U. students with valid and current photo ID; advance tickets for all shows are available through Brown Paper Tickets at www.brownpapertickets.com (search for Classic French) More info: www.cinemastlouis.org, 314-289-4150 The Fifth Annual Classic French Film Festival celebrates St. Four programs feature newly struck 35mm prints: the restora- Louis’ Gallic heritage and France’s cinematic legacy. The fea- tions of “A Man and a Woman” and “Max and the Junkmen,” tured films span the decades from the 1920s through the Jacques Rivette’s “Le Pont du Nord” (available in the U.S. -
The Cahiers Du Cinema and the French Nouvelle Vague
Journalists turned Cinematographers: The Cahiers du Cinema and the French Nouvelle Vague An Honors Thesis (HONRS 499) By Rebecca 1. Berfanger Ball State University Muncie, Indiana December 2000 Graduation: December 2000 ~eoll T'leSfS l-D ;:,147/1 Abstract ,z..tf - ~OO(., Journalists turned cinematographers: Cahiers du Cinema and the Nouvelle Vague is a "rA7 reflection of the so called French ''New Wave" cinema and how the Cahiers, one of the most influential film magazines of any language, has helped to shape modem cinema in some way. It reflects the age-old conflict between movie studios and independent filmmakers, where content and substance are judged against big name stars and pay checks. The four directors specifically mentioned in this paper are among the most influential as they were with the magazine early on and made movies in the late 1950s to the early 1970s, the height of the ''New Wave." Truff'aut has always captured themes of childhood and innocence, Godard has political themes (while claiming to be "unpolitical"), Resnais made documentaries films based on literature, and Rohmer demonstrated provincial life and morals. - Acknowledgements I had more than a few helpers with this project. I would like to thank Richard Meyer for being my first advisor and helping me focus on the subject with ideas for references and directors. I would also like to thank every French teacher I have had at Ball State who has furthered my appreciation of the French language and French culture, what this paper is more or less all about. I would especially like to thank James Hightower, my second and final advisor for all of his support and encouragement from beginning to end by loaning me his books and editing capabilities. -
Alexander Valley Film Festival October 20 - 23, 2016
THE SECOND ANNUAL ALEXANDER VALLEY FILM FESTIVAL OCTOBER 20 - 23, 2016 BROUGHT TO YOU BY Dear Friends, Supporters, and Fellow Movie Lovers, On behalf of the Alexander Valley Film Society (AVFS) Board of Directors, our filmmakers, and our sponsors, welcome to the 2nd Annual Alexander Valley Film Festival (AVFF)! We can’t wait to share this year’s Festival with you. 2016 served as our first full year of cultural and educational programming. Through the generous support of our Donors, Sponsors, Members, and Volunteers, we amassed an impressive collection of accomplishments in service to our community: ● 2,000+ hours of volunteer service logged, AV ● 800+ people attended the two AVFS Drive-Ins, ● 150+ films screened for the 2nd Annual Film Festival, FILM ● 47 meetings held (and counting) of the Jr. Film Society FESTIVAL made up of students in Northern Sonoma County, ● 23 Jr. Film Society Students headed to the city for the San Francisco AV International Film Festival, ● 20 Students from across Sonoma County attended a summer documentary FILM filmmaking workshop with 3 visiting Bay Area filmmakers, ● 14 screenings of independent or classic films held in Cloverdale and SOCIETY Healdsburg as part of the Monthly Screening Series, ● 6 students concluded a documentary for the Cloverdale Chamber of Commerce, and ● 1 new ongoing series: Out in Alexander Valley: Celebrating LGBT Stories. With all of these exciting developments, it was fitting that our second year Festival theme evolved into “Bringing the World to the Community, and the Community to the World.” This motif 2016 ALEXANDER VALLEY FILM FESTIVAL highlights our commitment to the diversity within our community and beyond. -
Cleveland: a Connected City Field Guide © 2014 Ceos for Cities Table of Contents
Cleveland: A Connected City Field Guide © 2014 CEOs for Cities Table of Contents Cleveland State University Levin College of Urban Affairs 1717 Euclid Ave. Cleveland, OH 44115 Offices: Cleveland, Chicago 4 Preface: The Connected City www.ceosforcities.org 6 Cleveland: Becoming Itself ISBN: 978-0-692-23580-5 10 Introduction Written by: Justin Glanville 12 Downtown Cleveland Designed by: Lee Zelenak www.the-beagle.com 18 Waterfronts 24 Euclid Corridor, Campus District and MidTown 30 University Circle 36 St. Clair-Superior 42 Shaker Square and Buckeye The Connected City 48 Detroit-Shoreway “Cities thrive as places where people can easily interact and connect. These connections are of two sorts: the easy interaction 54 Ohio City and Hingetown of local residents and easy connections to the rest of the world. Both internal and external connections are important. 60 Tremont Internal connections help promote the creation of new ideas and make cities work better for their residents. External 66 Special Topics connections enable people and businesses to tap into the global economy. We measure the local connectedness of cities by looking 72 Conclusion at a diverse array of factors including voting, community involvement, economic integration and transit use. Our measures of external connections include foreign travel, the presence of foreign students and broadband Internet use.” — CEOs for Cities, City Vitals 2.0 Cleveland: A Connected City Field Guide 3 The Connected City Each of these theories alone is wrong. A successful city must have all of these elements. It must have compelling public places, creative and educated talent, pathways for economic opportunity and smart technology. -
2012 Annual Report
The George Gund Foundation 2012 ANNUAL REPORT www.GundFoundation.org 1845 Guildhall Building, 45 Prospect Avenue West, Cleveland, Ohio 44115 216.241.3114 Pr ESIDENT’S LETTER Each year I write a letter for the annual report as I have for George’s warmheartedness was always at the forefront in his the last 20 years. relations with the Foundation. His ready smile, his gentle humor and his good-natured easy friendliness were unique This year, in recounting the work of The George Gund Foun- and will be deeply missed. dation, it is with sadness that I note the death in early 2013 of my brother George Gund III who was a faithful Trustee of the George had many enthusiasms – hockey, the West, travel and Foundation for 32 years. George was the second family film among them. Art played an important role in George’s Trustee to join the Foundation and was, at his death, the lon- life, and in his final year as a Trustee he participated in award- gest serving Trustee on the Foundation Board. ing the Foundation’s largest grant of 2012 – $5 million – to the Cleveland Museum of Art for its stunning renovation and George made a steadfast contribution to the Foundation in a expansion project. The wing that houses the museum’s edu- wide variety of areas. He hardly missed a meeting in his years cation programs, innovative Gallery One and Gartner Audito- of tenure, and he was always available for comment on his rium is now called the Gund Family Pavilion. George would wide-ranging interests which often overlapped with those of have been delighted by the many visitors watching films in the Foundation.